PRELUDE & FUGUE 40/

three dogwood

two owls

a stone barn

*   *   *

stone fence
halfway up the valley of silos, tractor trailers
in mirrored sunrise

the symmetry, yee hah! of fence half stone
up the valley silos, tractor trailers, in the mirror
of sunrise coming home, yee hah!
setting forth along stone fence halfway up
the valley silos, tractor trailers,

in glittering yee hah! sunrise
so fleeting, unbalanced
between the gloved hands

a rosebud, three dogwood, two owls
a stone barn with blossoms that God
in front of a lone maple looks down

in a rosy stone barn fronting a lone dogwood
three maple blossoms look on two owls
that God, in a rousing talk in front of the lonely

fireworks of dogwood, owls, rosebud
blossoms, by God, around a stone barn

in front of a lone dogwood, what blossoms
into a conversation of two owls with God
looks up, looks down, looks around fireworks

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

PRELUDE & FUGUE 43/

green drapes
the first week of leaf

before the coral color of cooked lobster

*   *   *

coral (stars) (in a buds of) still birches
(with the wind) an ocean of northern lights

divers (however) shamefaced
avoid the first leaf
draping some fancy coral (yet)

northern lights drape the stilled birches
shamefaced, avoiding some fancy ocean
frogman first

(as) the coral northern lights
leaf out, draping

some still sand bar
beyond fancy birches
(shelters) a roseate sea nymph

(at noon) divers are shamed
facing (her) (the one as fleeting as the) first leaf
or northern lights avoiding (possession) (capture)

(at midnight) hanging still (as) birches, divers
in their shame, avoid facing
(their) fancies, first leafing
(in the) still briny reef

lobster footwork
coming clear

the still green lobster
works its feet in coming
to the clear green

the rippling lobster foot
works clearly
in the coming
green

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

PRELUDE & FUGUE 24/

there, in thick grass beside a slow stream
a Jersey heifer
wears telescope goggles to observe
a bragging rival

*   *   *

one with horns turns
to observe the huddled two Holsteins
wait for grain

three in thick grass beside a slow stream
four in a high meadow
four on a green slope, still

a Jersey heifer, a bragging rival with horns
turns to the huddled dairy cows awaiting
grain

three in thick grass beside a slow stream
four brown in a high meadow
along a green slope

a Jersey heifer wears telescope goggles
to observe a bragging rival
with long horns turns

the dairy cows, huddle, waiting
for grain beside a slow stream
and the high green meadow

the inertia, meanwhile, is extraordinary
waiting, huddling, bragging rival
mooing, with horns

turning to observe the inertia
meanwhile, a Jersey heifer wears telescope goggles
to stalk a bragging rival

four brown cattle in a high meadow
four on a green slope
two Holsteins waiting for grain

three in thick grass beside a slow stream
the inertia, meanwhile, is
brown, green, mooing, bragging

the wait for grain
huddled beside a slow stream mooing
in the inertia

meanwhile, a Jersey heifer wears telescope goggles
to observe another cow, its bragging
“meow”

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

REAL DEVELOPMENTS IN THE YEARS SINCE I DRAFTED THAT NOVEL

The years since I drafted Big Inca versus a New Pony Express Rider have brought significant, often dramatic, restoration and redevelopment to long neglected historic mills like the ones at the heart of my novel.

One impetus for the renewal appeared in a handful of towns in Maine, where credit-card giant MBNA transformed old mills into attractive call centers that in turn revitalized local economies. Even after being shut down in a later buyout, the benefits linger, and other developers had concrete models to follow.

Visionary entrepreneurs like the late Joseph Sawtelle here in New Hampshire as well as nonprofit agencies or local government-backed councils entered the picture, making mills in other towns emerge as small-business incubators or readily adaptable buildings for new arrivals, especially enterprises growing rapidly.

And, if the location’s right, they can attract artists of all stripes – painters, sculptors, printers, dancers, musicians, craftsmen, bakers and caterers – as an affordable alternative with natural light and high ceilings. (We love the annual studio tours and open houses in the mills in one nearby town.)

Sometimes the downtown locations lend themselves to conversion into residential condos as well. And then there are universities, health-care organizations, and museums that move in for convenience. (Well, one mill in downtown Manchester, New Hampshire, does have a helicopter pad on the roof.)

In other words, there are some fascinating case studies just about everywhere I turn.  But I still haven’t found any where the top of the tower is turned into a tiny penthouse, not the way Bill did at one point in the novel. I’m still quite fond of that touch.

PRELUDE & FUGUE 44/

no clouds except in the sky as yet
snow sits atop cones
in long-needled pine

*   *   *

in long-needled pine, a gray hill
beyond the snow-covered cones
becomes cloudy sky
yet pussy willows are molting

gray clouds of snowy pine
yet the sky covers cones atop long-needled pine
in the primrose sunrise the snow covers
pussy willows before you believe summer is coming

yes, beyond the snow-covered gray hill
wisps of clouds are melting
into pussy willows and pinecones

with the melting snow atop cones
the long-needled primrose sun sets
in a gray hill of pussy willows
you believe summer is coming

no clouds with the melting
wall atop gray cones

beyond the pussy-willow clouds
with the melting gray wall

birch beyond pussy willows, not clouds
melting the gray wall atop long-needled cones
beyond the pussy willows

~*~

Poem copyright 2016 by Jnana Hodson
To see all 50 Preludes & Fugues, click here.

POETRY SPRINGING FROM WITHIN ITSELF

Here’s a section from a collection of contemporary American sonnets I’ve done along the lines of those by the late and wonderful Ted Berrigan. It’s one of 60 from Braided Double-Cross.

~*~

As I said at the time …

In defining poetry, Berrigan’s concept of a windup toy serves well for me. How basic can I make it? (A single word? Maybe two?) As well as how extended or elaborate!

I still don’t like poetry that’s written as code, an intellectual equation of meaning.

Also, I prefer lines that are long enough to have something happen within each one.

I love when literature (or any art, for that matter) opens as a state of awareness – or fullest existence – which also expands into epiphanies of dancing or singing or perhaps, well, just imagine. Think twice about the chemically aided experiences – pinot, martini, pot? Yes, the Zone, when it graces. In a continuum, with differing specifics.

A set of skills and disciplined thought and, I would hope, tradition / culture. Not that every time I read a book or sit to write I’m there. Indeed, there may be good reasons we cannot dwell long in that Zone (Is it too isolated? Too exclusionary? Self-centered even when we find it occurring in Otherness?) …

A break, then. And then back to work.

~*~

CROSSING XXXVI

A green-streaked sentry flanked by thistles
on every town common is more explicit
than any boom box. Please, my darling, please
don’t let carnal memories expire between us.

I set forth at a disadvantage.
Ribbons of baby oil. Snaking Chinese dragons.
One flesh, lagoons. Trembling like the wind
in shrubs and flowers. You chained

criticism on my Academy of St. Martin
in the wallpaper, provoking blatant spice factory
peppers and cinnamon misrepresentations
of common logic, as if you were running for office.

Without proper camouflage, there’s nothing to repulse
destitution overtaking military-issue fortifications.

Poem copyright by Jnana Hodson
(originally appeared in the journal Plungelit)
For more, click here.

Poetry
Poetry

IN THE SHADOW OF THE BLACK SPREAD EAGLE ON LUDGATE HILL

Sometimes in exploring a niche of history, you come across an unexpected incidental detail that significantly alters your previous perception. For example, many of the earliest Quaker tracts and books bear the imprint of Giles Calvert, a publisher and bookseller at the Black Spread Eagle on Ludgate Hill near St. Paul Cathedral in London.

So extensive is his Quaker role that I’d assumed Calvert (1612-1663) was a member of the Society of Friends. For one thing, he was the elder brother of Martha Simmonds, an early Quaker convert and a central character in the notorious Bristol Controversy of 1656 that led to the blasphemy trial and conviction in Parliament of a leading Friends’ minister, James Nayler. The connection intensifies when you discover that two years earlier she had joined with Friends and the next year married Thomas Simmonds, who (according to one account) took over the shop from Calvert, by then the leading publisher of Quaker literature. And Martha Simmonds (1624-1665) was hardly shy about public protest and witness on behalf of her faith. She’s a controversial figure in her own right as she challenged much of the male leadership of the emerging Quaker movement.

One earlier connection I’d come across was Calvert’s role as publisher of Gerrard Winstanley’s True Leveller (or Digger) writings from 1648 to 1652, the year the Quaker works begin appearing. Winstanley was a radical religious and political thinker and leader, one who later had an influential role among Friends even if he drifted away for a while – his life leaves many questions and holes for the curious.

Still, it’s enough to strengthen Calvert’s position as a Quaker vanguard.

In my recent reading of Douglas Gwyn’s Seekers Found: Atonement in Early Quaker Experience (Pendle Hill Books, 2000), a broader portrait emerges.

Gwyn makes a critical connection that begins with Parliament’s attempt to impose Presbyterianism on the Church of England. “One factor that doomed the project to failure was the suspension of censorship of the press,” itself a parallel to the suspension of mandatory church attendance amid the waves of civil war. “Religious ideas that before 1642 had circulated only below the surface, if at all, now reeled off presses in exponentially expanding numbers. Propaganda pieces, ranging from one-sheet ‘broadsides’ to tomes hundreds of pages long were printed and sold at low cost.”

This had my mind leaping backward to the sense that many underground religious and spiritual streams had somehow survived in Britain for centuries, in part because of valiant efforts that kept the Roman Catholic Inquisition at bay. Queen Mother Joan of Kent’s influence at the trial of John Wycliffe and the Lollards in 1378 remains a pivotal moment in the history of freedom of religion. We were a long way from tolerance, but it was far superior to the terrors of the papal machine.

Gwyn, though, introduces Calvert at this later point beginning in 1642, “One of the most notorious publishers of dissenting literature … among the first publishers in England who was not also a printer.” (That, in itself, is a fascinating detail. I had assumed he handset the type himself, placed the paper and ink of the flat press, and collated and bound the pages. Instead, he served as a go-between.) “Over the course of his career,” which began in 1643, “he published more than 600 of the most radical tracts and books written in England during that period. … Calvert was questioned, fined, and imprisoned briefly on various occasions for his publishing activities, but he was never really silenced. Once the door was opened for a free press, it was never to be effectively closed again.”

It was enough to send me back to Christopher Hill’s classic The World Turned Upside Down (Penguin, 1975), where Calvert gets two mentions, the first for his Quaker service. In the other, a longer overview, Hill observes, “The printer Giles Calvert’s shop perhaps came the closest to uniting the radicals in spite of themselves – ‘that forge of the devil from whence so many blasphemous, lying scandalous pamphlets for many years past have spread over the land,'” as one critic put it. Hill then notes that A.L. Morton, the leading scholar on the Ranter movement, “stresses the importance of Calvert as a unifying force.” Hill has Calvert working as late as 1662 “still inciting the publication of seditious literature, and after his death in 1663 his widow continued his policy.” Unclear is whether Calvert was still with the Black Spread Eagle or working more independently; either way, he was a force who’s largely unknown today.

It’s heady stuff, of course. Here we have a champion in the history of freedom of the press and the circulation of revolutionary ideas itself. At the moment, Giles Calvert gets a single sentence as his Wikipedia entry – and that notes his publication of John Saltmarsh, another important influence on Quaker thought, as Gwyn delineates.

As a writer and editor, I am as fascinated by the idea of a bookstore that also showcases its own line of books and pamphlets as I am by the existence of a bold publisher of revolution, political, spiritual, or even literary. Think of City Lights Books in San Francisco in our own time, with its line of poetry from the Beat and Hippie years. No doubt there are many others over the centuries.

I wonder, too, about the bookstore itself. Was it more like a newsstand, with the latest blast hot-off-the-press as must-have material? (That has me thinking of record stores back in the Beatles era!) Think, too, of the audience hungry for the most recent release – in contrast to our surfeit of information today. What were the discussions like, too, in deciding whether to publish a piece or edit it or, perhaps, in gathering customers around a table to debate the merits of the most current issues? Who frequented the shop, for that matter?

Imagine, if you will, the movie version. I want the key characters to be ink-stained, for starters, and maybe tobacco smokers.

Actually, I’m beginning to wonder. Would this be more like a porn shop? At least before the Internet took over? Customers entering surreptitiously, hoping not to be seen? And then slip away again?

Well, Quaker was a term of derision. As well as one of scandal. Bear it as we may.

JUST HOW BIG IS THAT TOWN WITH THE MILLS?

When I began drafting Big Inca versus a New Pony Express Rider, I was coming off a two-year stint that had me traveling across the Northeast, including the Atlantic Seaboard from Maine through Virginia. I hunkered down in Baltimore to concentrate on a handful of major writing projects in a very intense year of self-imposed sabbatical. (No university support, if you were wondering.)

While Big Inca marked a sharp departure from my other works, moving into dark subconscious realms and mysterious meanderings, it did incorporate castoffs from some of the other projects. The prompt, though, was a vague dream of restoring landmark mills beside a river, a project that could have happened just about anywhere in the region I’d been traveling.

We think of them as textile mills, and many of them were. But the water power could be employed for just about any kind of manufacturing, as I’ve since learned, from machine-making itself to shoes to clothespins to locomotives, as well as the grain and sawmill operations I’d been introduced to on our trips to historic sites in my childhood, starting with the overshot wheel and grindstones in Carillon Park in Dayton and the reconstructed Spring Mill village in Indiana.

As a youth, I’d also owned a gorgeous volume the duPont company had published to celebrate its history, and my favorite parts were the illustrations of its early mills and supporting waterways and lands in Delaware.

So there was already a degree of romance in my thinking about the use of old-fashioned waterpower.

Then, in my first job after college, I was introduced to the ruins of cigar factories beside a dam in the Susquehanna River, a tangled patch I returned to frequently, as I describe in my set of poems, Susquehanna. Just how would the mills have looked, anyway? And how would they have shaped the adjacent neighborhood, a setting reflected in Riverside, another of my poetry collections?

My more recent employment had me calling on places like Fall River, Massachusetts, with its array of vacant stone mills, as well as towns incorporating the more common red brick versions, large and small.

Add to that mention of the entrepreneurial impact of the many mills that once stood along the Jones Falls in Baltimore itself, before the freeway wound through the sites, and I was quickly writing.

Since releasing the novel, though, I’ve been wondering about scale. Just how big a town are we dealing with? And, for that matter, how big a mill yard?

In the back of my head I’d imagined something along the lines of Binghamton, New York, a city of roughly 50,000 – large enough to move about in inconspicuously but not too big to be, well, anywhere in the corporate radar these days. Or, more accurately, the recent past when the action takes place.

That’s had me looking more closely at old mill towns, of course, and asking if this one or that could be the right setting. Security, by the way, adds another consideration – I wouldn’t want the novel’s mills sitting right downtown, as they do where I now live or in several of the neighboring towns. Somersworth, to the north, has train tracks separating its old mills from the rest of the town, and Binghamton had a freeway.

A smaller town, in contrast, might simply have too many nosy neighbors who would insist on knowing everything about a newcomer like Bill, and that wouldn’t do. Still, there are some beautiful sites for imagining as you move about.

WHO INVITED INCA INTO MY NARRATIVE, ANYWAY?

Why Inca, anyway? For starters, when it came to conceiving my novel Big Inca versus a New Pony Express Rider, I seem to recall an attraction to the wordplay, Inca for Inc., befitting a story about corporate intrigue.

Maybe there was even a sense of llama and alpaca wool as raw materials for the abandoned waterpower textile mills that instead become the front for covert business activity.

I was already aware of how much indigenous lore remained lost or buried in the American inheritance and wondered how much more might be festering somewhere. Even before issues of illegal immigration entered the picture, I was curious about the alternatives lurking in the imagined jungles of Latin America. Maya and Aztec, for example, also had rich imperial cultures that contrasted with the Spanish invaders.

The novel takes on its own meandering along the edges of consciousness and subconscious currents. Just what are we doing in our careers, anyway, at least in the face of ultimate existential purpose? And what is the allure of corporate politics, strategy, and gamesmanship, at least in the higher offices? Bill may be out in the sticks, but he is a puppet of sorts for the Boss. A player. Or maybe just his apprentice. Either way, he’s green and supple.

Here we encounter, however dimly, a darkness conquered by another darkness, perhaps crueler under its Christian veneer. Yet a New World Native undercurrent runs counter the peasantry of Old Europe, and pagan influences infuse both sides in the millpond of Bill’s labors. As for the company paying his Bill’s bills? It’s at least as mysterious as the Inca itself.

LET’S CAST THE SPOTLIGHT AWAY FROM POOR JOB

Could it be that the Book of Job isn’t so much about the suffering of Job, a man of faith, as it is a critique of conventional religion and religiosity itself?

In my volume Eden Embraced, I approach Job’s plight as if the text were a Hebrew Upanishad, one paralleling a type of classic Hindu writings. Yes, the thread holding the plot together follows one innocent man’s spiritual journey through unspeakable suffering. Blameless as he is – and uncomforting as God’s role is here – Job would have every right to turn in other directions, though he chooses to remain faithful.

The story is endlessly troubling, especially for those who read it from a legalistic perspective. From the outset, God is arrogant, even vain and cruel, rather than compassionate or even all-knowing. And Satan, a member of the sacred council, could be a favored golfing buddy arranging another wager.

The setup can easily lead to contortions as a believer attempts to reconcile other, more conventional, definitions of the Holy One with the action at hand, especially when Job’s buddies begin to weigh in with their platitudes. In many interpretations, Job’s faithfulness is held up as an example to emulate, no matter what. Fat lot of encouragement, right?

As a writer, though, I can see the axiom of trying to address a situation by taking an opposing, uncommon position, which is where I see the story of Job originating. After all, we are faced with the question of just where does evil originate, along with human suffering. Why not blame the Creator?

Is there even a large measure of humor in this? Take the events over the top, asking just what more can happen to poor Job? And that’s where his so-called friends step in, adding misery to his plight and their condemnation rather than comfort.

Would it be nearly as compelling if they did the right thing? If Mother Teresa had showed up instead?

By the way, I delight in the happy ending, which many purists object to as a later revision that doesn’t fit with the general thrust of the plot. Feel free to weigh in as you will.